University of Toronto wind ensemble

CP 2012 --!6

UNIVERSITY OF TORONTO
FACULTY or MUSIC

University of Toronto Wind Ensemble
Alain Cazes, guest conductor

Saturday, February 4, 2012
7:30 p.m. MacMillan Theatre
Edward Johnson Building

2011-12 SEASON

University of Toronto Wind Ensemble
Alain Cazes, guest conductor

PROGRAM
Prelude and Fugue Vaclav Nelhybel
1919-1996
Serenade in D minor, Op. 44 Antonin Dvorak
Moderato, quasi Marcia 1841-1904
Minuetto-Trio-Presto
Andante con moto
Finale-Allegro molto
INTERMISSION
Romantic Variations Morley Calvert
1928-1991
Music for Prague 1968 Karel Husa
Introduction and Fanfare b.1921
Aria
Interlude
Toccata and Chorale
Pillar Sponsers
MM] Manulife Financial mbna. 1D} oeeingis

Meloche Monnex

The photographing, sound recording, or videotaping of this performance without the
written permission of the Faculty of Music is strictly prohibited.

We kindly request that you switch off your cellular phones, pagers, watch beepers,
and any other electronic devices that could emit a potentially unwelcomed sound.

Program Notes

VACLAV NELHYBEL
Prelude and Fugue

A prolific and highly skilled composer,
Czech composer Vaclav Nelhybel (1919-
1996) considered the wind band genre

to be just as important as other musical
idioms. Nelhybel composed over 400
works for orchestra, opera, ballet, chorus,
and band.

The Prelude and Fugue was composed
in 1966 and dedicated to the University
of New Mexico Concert Band. The one-
movement work with two contrasting
themes begins with a slow introduction
in which there is an intense search to
formulate the main theme beginning in
the woodwinds, then in full brass, and
finally in the low brass and percussion.

In the Allegro, the aggressive main theme
is fully realized. Immediately following

the Fugue is the Vivace, a literal “running
away” from the theme. The work closes
with a struggle between the incessant
eighth-note motives in the woodwinds and
the authoritative marcato of the brass.

\NTONIN DVORAK
Wind Serenade in D minor, op. 44 (B.77)
Arr. Alain Cazes

In May 1879, Johannes Brahms wrote

to his friend, the renowned violinist
Joseph Joachim: “Take a look at Dvorak’s
Serenade for Wind Instruments; I hope
you will enjoy it as much as I do...It would
be difficult to discover a finer, more
refreshing impression of really abundant
and charming creative talent. Have it
played to you; I feel sure the players will
enjoy doing it!”

Written over a two-week period in
January 1878, Dvorak’s Serenade often uses
the “Wind” designation to distinguish it
from the previous Serenade in E major.

Written for pairs of oboes, clarinets and
bassoons, three horns and solo cello and
double bass, Dvof4k imbued the Wind
Serenade with a fervent Czech nationalistic
tone. The opening march pays homage to
the Harmoniemusik tradition of Mozart
and central European wind-band music.
The second movement utilizes two

Czech folk dances, the “sousedska” and

a “furiant” as the trio section. The third
movement once again draws it inspiration
from Mozart, this time from the slow
movement of the Gran Partita. The
fourth and final movement of the Wind
Serenade begins in the style of a polka,
which alternates between sections of new
material until the opening march of the
first movement appears before the polka
theme closes the movement.

The year after its premier, Hermann
Krigar wrote, “What fine artistic
expression, what compelling melodies
and touching harmonic progressions the
composer has at his disposal.” Since its
composition, Dvorak’s wind Serenade
continues to be a staple of the repertoire
for wind groups.

MORLEY CALVERT
Romantic Variations

Canadian bandmaster, conductor and
composer Morley Calvert (1928- 1991)
was highly influential in the Canadian
music scene. Calvert directed a number of
ensembles including the Imperial Singers
(1954- 6), the Montreal Citadel Band of
the Salvation Army (1960-70), McGill
University Concert Band, the Lake Shore
Concert Band (1967- 72) and the Barrie
Central Collegiate Band (1972- 1985). His
works for brass band and brass quintet
have been recorded by a number of
ensembles including the Montreal Brass
Quintet, the Hannaford Street Silver Band,

and the Canadian Brass.

Composed in 1975 for concert band,
Romantic Variations begins with a smooth
lyrical theme presented first in the
clarinets. The theme then undergoes six
variations with each variation presenting
the theme in a contrasting style. The first
variation continues the lyrical nature
of the initial theme but Calvert places
a rocking eighth-note accompaniment
underneath the theme. The second
variation while marked “lively” still
maintains the lyrical quality of the original
theme. The third variation is reminiscent
of Russian music with the theme presented
in a slow dotted rhythm over a slow
syncopated quarter note ostinato. In
the fourth and fifth variations, Calvert
begins to embellishment the theme and
the final variation presents the theme in
syncopation. The final statement of the
theme begins gently in the trumpets and
trombones before growing into a broad
brass chorale.

KAREL HUSA
Music for Prague 1968

Commissioned by Ithaca College,

Czech composer Karel Husa composed
Music for Prague 1968 in reaction to the
events of “The Prague Spring” in 1968,
during which Soviet troops invaded and
occupied Czechoslovakia in an attempt

to curb democratic sentiments from its
government. During the invasion 72
Czechs and Slovaks were killed with

an additional 650 people wounded.
Moreover, the communist crackdown of
the country resulted in a complete reversal
of reforms that were enacted in the months

prior to the occupation, which resulted
in even stricter communist rule over the
country.

Written out of love for his home
country and sorrow for the events, Karel
Husa writes in the forward to Music for
Prague 1968:

“Three main ideas bind the
composition together. The first and most
important is an old Hussite war song
from the 15th century, Ye Warriors of God
and His Law, a symbol of resistance and
hope for hundreds of years, whenever
fate lay heavy on the Czech nation.

It has been utilized by many Czech
composers, including Smetana in My
Country. The beginning of this religious
song is announced very softly in the first
movement by timpani and concludes in a
strong unison Chorale. The song is never
used in its entirety. The second idea is the
sound of bells throughout; Prague, named
also the City of Hundreds of Towers, has
used its magnificently sounding church
bells as calls of distress as well as of victory.
The last idea is a motif of three chords first
appearing very softly under the piccolo
solo at the beginning of the piece, in flutes,
clarinets, and horns. Later it appears

at extremely strong dynamic levels,

for example in the middle of the Aria
movement. Much symbolism also appear’
in addition to the distress calls in the first
movement (Fanfares), the unbroken hope
of the Hussite song, sound of bells, or the
tragedy (Aria), there is also a bird call at
the beginning (piccolo solo), symbol of
the liberty which the city of Prague has
seen only for moments during its thousand
years of existence.”

Program notes by Erik Leung

Biography

‘warded first prize from Conservatorie
Music de Montréal in 1978, ALAIN
CAZES was principal tuba with the Paraiba
State Orchestra in Brazil, and professor
at the Federal University of Paraiba.
He has taught at the Conservatoire de
Music de Montréal and the Université de
Montréal, where he was in charge of wind
orchestras, teaching chamber music and
conducing. He adjudicates regularly at
several national and international festivals
and competitions. He teaches in summer
camps like the Orford Arts Centre and the
International Brass Symposium of Ascoli
Piceno in Italy. Principal tuba with the
Orchestre Métropolitain in Montreal, he
has also performed with the ?Orchestre

Symphonique de Montréal and other
orchestras in the world under the direction
of conductors such as: Mehta, Dutoit,
Decker, Baudo, Foster, Kmura, Muller,
Nezet-Seguin, Veltri and many others.

He is also co-director of the Orchestra
Metropolitain Choir.

A founding member of the
Philharmonie des vents du Québec, Alain
Cazes is currently a full time professor at
McGill University where he conducts the
Wind Orchestras and teaches conducting.
He has written numerous arrangements for
a variety of instrumental ensembles, as well
as arrangements for wind orchestra and
mixed choir. He is also Vice-President of
CIME MUSIC

University of Toronto Wind Ensemble

Flute

Kerry Chan, piccolo
Emily Johnson
Hyunwha Lee

Robin Meiksins, piccolo
Taya Rosenberg, piccolo

Oboe

Boris Chang

Eric Chow, English Horn
Chieh-Ying Lu

Clarinet

David Boutin-Bourque

Elaine Jia Ying Cheng

Hyunjoo Choi

Jason Pak Hei Chum

Michael Dassios, E-flat, bass,
contrabass

Le Lu

David Marshall

Petra Nikolaou

Caitlin Nishimura, bass

Svetlana Ruzin, E-flat

Bassoon
Susanne Hung
Kevin Sleno

Saxophone
Christopher Britton
Spencer Brulé

Scott Harbin
Jeffrey Leung

Neil Morely

Robin Reid-Moran
David Zucchi

French Horn
Jonathan Fisher
Esther Khew
Ann Millen
Natalie Worden

Trumpet

Karin Anderson
Samara Desrochers
Jonathan Elliotson
Marianne Greene
Lisa Hartl

Jenna Howells
Darlene Klein
Matthew Ross

Trombone
Peter Bye

Jessica Hierons
Jacob Plachta
Tyler Cairns, bass
Yiyang Liu, bass

Euphonium
Kohei Kamikawa
Louis Varahidis

Tuba
Vikram Krishnamoorthy
Eric Probst

Percussion

Alexander Artale
Jennifer Collins
Patrick Jacob Mannion
Kyle Reyes

Jonathan Smith
William Tran

Martin Wigle

Double Bass
Ben Finley

Violoncello
Kevin He

MacMillan Theatre
Fred Perruzza,
Director of Operations
Les Stockley, Technical
Assistant
Bob Dunkin, Production
Assistant

Performance
Collection
Karen Wiseman, Librarian

Thank you for your support!

The Faculty of Music gratefully acknowledges the generosity of the individuals, foundations,
associations and corporations who gave annual gifts of $1,827 or more
between May 1, 2010 and January 1, 2012 in support of our students and programs.
Thank you for the part you are playing in advancing the cause of music education in Canada.

Peter Allen

Lillias Cringan Allward

Raymond C. K. Ang

ARIAS: Canadian Opera Student
Development Fund

John and Claudine Bailey

Barrie Concert Association

John Beckwith and Kathleen
McMorrow

The Bel Canto Foundation

J. P. Bickell Foundation

Christie and Will Bentham

Bruce Blandford and Ron
Atkinson

Harald and Jean Bohne

Walter M. and Lisa Balfour
Bowen

David G. Broadhurst

The estate of Marguerite Harriet
Brooke

Earlaine Collins

Marilyn E. Cook

The Estate of J Bruce Duncan

Gerard Dunnhaupt

Edwards Charitable Foundation

M. Jean Edwards

William F. Francis

Mary Craig Gardner

Shelagh Gill

Susan C. Girard

Peter D. Goddard

Morton Greenberg

Ethel Harris

Lyman Henderson

The estate of John A. Hethrington

Richard and Donna Holbrook

Jackman Foundation

The estate of Ethel Berney Jackson

Philip Jackson

The Norman and Margaret Jewison
Charitable Foundation

Michael Kedar and Eva Seidner
Kedar

William and Hiroko Keith

Ken Page Memorial Trust

David Klein

The estate of Gisela Klinghofer

Hans Kluge

Joseph Koenig

Michael and Sonja Koerner

Kevin Komisaruk and Jeffrey
Steele

Patricia Kraemer

Victor Kurdyak

Robert and Carolyn Lake

Leslie and Jo Lander

Balfour Le Gresley

R. Douglas Lloyd

Elizabeth Lockett

V. Lobodowsky

Long & McQuade Musical
Instruments

The estate of Maryanne Marsden

The estate of William A. McCoy

The McGraw-Hill Companies

Donald R. McLean and
Diane M. Martello

Irene R. Miller

Sigmund and Elaine Mintz

Roger D. Moore

Sue Mortimer

Linda J. Munk

Music Toronto

Paul and Nancy Nickle

Phillip Nimmons

James Norcop

Cristina Oke

Mary Ann Parker

Mary Kathryn Petkovich

Wanda Plachta

The estate of Uriel Rozen

The Ryckman Trust

The estate of Virginia Rylski

Elvino Sauro

Patricia M. M. Shand

Stephen and Jane Smith

Milan Somborac

The Sound Post

Darrell Steele

The Stratton Trust

Janet Stubbs

Brian Tanner

John Terauds

lan and Kathleen Taylor

Richard lorweth Thorman

Riki Turofsky and Charles Petersen

William and Phyllis Waters

Women’s Art Association of Canada

Women's Musical Club of Toronto
Centennial Foundation

Lydia Wong

Yamaha Canada Music Ltd

Marina Yoshida

KING’S COLLEGE CIRCLE HERITAGE SOCIETY

We are pleased to acknowledge the following members of the University of Toronto's King’s College Circle Heritage
Society for including the Faculty of Music in their estate planning.

Lillias Cringan Allward

Kathleen Anderson

Roderick L. Bell

Richard J. Bishop

Harald and Jean Bohne

William R. Bowen and Sandra J.
Gavinchuk

Liona M. C. Boyd

James Briegel

Patrick and Marilyn Brown

Anne Brownjohn

Sherilene M. Chycoski

Verna-June Culley

Gerard Dunnhaupt

Barry W. Easton

Victor Feldbrill

Kingsley G. Ferguson
Madeline Field

Julian Fisher

Gary Vincent Fitzgibbon

Anne Geddes

Merle H. Gobin-Valadez

Jane N.S. C. Grier

George R. Haddad
Doreen Hall

Vern and Elfrieda Heinrichs

Peter and Verity Hobbs

Charles A. Hunter

Edwin R. and Enid Kammin
Donald and Phylis Ketcheson

Jodi and Michael Kimm
Angela Louise Klauss and Colin Doyle
Robert and Carolyn Lake

Jo Lander

R. Douglas Lloyd

Michael and Joan Maloney
Ruth Morawetz

James and Charlotte Norcop
Naomi J. Oliphant

Paul Read

Diane Lynn Silverman

Janet Stubbs

Ann D. Sutton

Nora R. Wilson

Lydia Wong

For information on giving opportunities at the Faculty of Music please contact

Bruce Blandford at 416-946-3145.